Large in sixteenth-century Folio illustrated by woodcut panels that describe the pains and beatitudes of Dante's Inferno, Purgatory and Paradise.
First Sessa edition of Sansovino, the first to include together the comments of Landino and Vellutello.
Beautiful oval woodcut portrait of Dante with allegorical frame on the title page, woodcut initials and headpieces, 47 beautiful woodcuts adorn Inferno, 22 Purgatory and 28 Paradise, canonical typographic Sessa mark on the back of the last page. Famous 'nasone' edition (so called for the portrait of the Poet on the title page), reprint of the first one of 1544, adorned with a rich and splendid iconographic apparatus engraved on wood.
Complete with the title page with portrait of Dante, dedications, proemio, life of Dante, Laudi alla poesia, epistle of Marsilio Ficino, life and customs of the poet.
A work of extreme iconographic beauty with excellent layout. One of the most important editions of the Commedia ever made.
Here "are gathered, for the first time, the two comments of Landino and Vellutello, and the comparison of the opinions of the fifteenth-century expert with those of the sixteenth-century expert, is very interesting for the scholar" (Mambelli 40). This edition also boasts the illustrations by Marcolini, considered the most expressive examples of Dante's iconography, used for the first time by Sessa in 1544. Brunet II, 504; Gamba 390.
"Upon this edition - called ‘of the Chat’ in France, from the typographic mark (a cat that bites a mouse), and in Italy of the Gran Naso, by allusion to the portrait of Dante reproduced on the title page - were made, here and there slightly corrected, the Venetian editions of 1578 and 1596 with the same woodcut illustrations of the 1544 edition, which, according to Volkmann, are the first modern illustrations of the "Divine Comedy'' see Mambelli, p. 49. First edition called ‘del Nasone’ and the first of the Commedia that brings together Landino’s and Vellutello’s comments. The edition reproduces the text of the Adine of which Sansovino, who dedicated the work to Pope Pius IV, modernized the orthography. The model for the portrait is probably the painting, a variant of Vasari's portrait, now preserved in Cleveland.
By far rarer than the 1578 edition, which, while maintaining the same woodcuts and a similar composition, differs for the elimination of the dedication of F. Sansovino to Pius IV (dedication of G.A. Rampazzetto to Guglielmo Gonzaga Duke of Mantua, and Monferrato). A well preserved copy of this edition, which had considerable success, with wide margins and sharply printed woodcuts. De Batines I, p.91-92. Mambelli p. 49. Mortimer, 148. Essling I, 546..
Coeval full parchment hardcover with titles handwritten on the spine and printed on the bottom edge, raised bands; folio, 32.4 x 22.9 cm;
Pp. (2b) + (56) + ff. 163 + (8) + [ff. da 164 a 392] + (2b); coeval binding with Japanese paper restorations on the spine and little damage at the corners, recomposed (nineteenth-century endpapers), title page with small flaws restored on the back and erased owner’s notes, restoration at the bottom corner of the last sheet of the index plate, slight mildew, some browned pages, a few stains. On the last page, the famous coat of arms of the printer (cat) above the colophon.
Dante Alighieri, or Alighiero, known by the name of Dante alone, of the Alighieri family (Florence, 1265 – Ravenna 1321).
He is considered the father of the Italian language. His fame is due eminently to the authorship of the Comedìa, which became famous as Divina Commedia and is universally considered the greatest work written in Italian and one of the greatest masterpieces of world literature.
The Princlpe d'Essìing justly observes - for the first great figure of this 'Dante "a du s'inspirer du grand bois placé en.regard du Ier Chant de l'Inferno" of the Brescia edition, 1487 Although Lippmann asserts that many vignettes carry the monogram e.b.
See, for the previous edition of 1491: 108 R. (Proctor, 9); cc. preliminari, commento e una parte del testo, 80 R. al secondo stato (Proctor, 9). Hain-Copinger, 5949; Reichling, I, p. 134; Pellechet, 4n7; Proctor, 4877;
B. M. Cat., V, p. 373; Kristeller, Italianischen Buchdrucker- und Verlegerseichen, n° 187; Husung, bie Drucker- und Verlegerseichen Italiens im XV. 'jahrh., n° 125; Essling, Livres à figures vénitiens, II, no 531; Lippmann, Italian woodengraving in the r5th century, p. 88; Pollard, Early illustrated books, p. 100; id., Italian book illustrations, pp. 40-42;. Nagler, Monogrammisten, I, n° 1613
(p. 718); Bartolomeo Cecchetti, Le pitture delle stampe di Bernardino Benalio, in Archivio Veneto, XXXIII, 1887;-pp. 538:039; Colomb de Batines, Bibliografia Dantesca, I, p. 52; Koch, Cat. of the Willard Fiske Dante collection, I, p. 5; Mambelli, Annali delle edizioni dantesche, n° 13;
Zambrini, Opere volgari, 317.' The typographical notes match with those of the copy described by Pellechet; for other varieties see Reichling and B. M.
Dante Con L’espositione Di Christoforo Landino, Et Di Alessandro Vellutello, Sopra la sua Comedia dell’Inferno, del Purgatorio, et del Paradiso. Con tavole, argomenti, & allegorie, & riformato, riveduto, & ridotto alla sua vera lettura,
per Francesco Sansovino fiorentino – 1564.
In Venetia, appresso Giovambattista, Marchiò Sessa, et fratelli.
- Number of Books
- Literature, Poetry
- Author/ Illustrator
- Book Title
- Con L’espositione Di Christoforo Landino... Comedia dell’Inferno, del Purgatorio, et del Paradiso
- Publication year oldest item
- Illustrated Edition
- Original language
- In Venetia, appresso Giovambattista, Marchiò Sessa, et fratelli
- Binding/ Material
- tipped in plates
- Number of pages
- 324×229 mm